Hauser & Wirth Somerset, Durslade Farm, Dropping Ln, Bruton, Somerset BA10 0NL

Jenny Holzer: Softer Targets

Installation view, Jenny Holzer: Softer Targets, Hauser & Wirth Somerset, 2015

Contrary to the more general scope of Holzer's previous series, which covered feminism, politics, domestic violence, and power dynamics, ‘Softer Targets’ shifts to focus aim on state secrets, cover-ups and government corruption. Review by Trevor Smith

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Birmingham Open Media (BOM), 1 Dudley St, Birmingham B5 4EG

Fierce Festival, Emily Mulenga: Orange Bikini

Orange Bikini

‘Orange Bikini’ visualises the psyche of a woman of colour, revealing her powerful and resilient spirit and subtlely acknowledging anxieties around beauty ideals. Review by Lynnette Miranda

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Northern Gallery for Contemporary Art, City Library and Arts Centre, Fawcett Street, Sunderland SR1 1RE

Jeffrey Dennis: Ringbinder

Jeffrey Dennis: Ringbinder

Dennis approaches conditions through his visual vernacular, in a gangly muddling of personal and public affairs. Review by Zara Worth

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SculptureCenter, 44-19 Purves St, Long Island City, NY 11101

Gabriel Sierra: Numbers in a Room

Gabriel Sierra, Untitled (o(op(ope(open)pen)en)n), installation view, Gabriel Sierra: Numbers in a Room, SculptureCenter, 2015. MDF and burlap. Dimensions variable. Courtesy the artist and kurimanzutto, Mexico City. Photo: Kyle Knodell

An interactive institutional critique, ’Numbers in a Room’ grants viewers permission to reconfigure the set language of a space as a form with which one can create, move, and play. Review by Rusty Van Riper

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Centrala, Unit 4 Minerva Works, 158 Fazeley Street, Birmingham B5 5RT

Małgorzata Dawidek: Conversio

Installation view, Sylvia

As anyone who’s opened a British newspaper recently will be amply aware, the word ‘migrant’ has become an incredibly loaded one over the last few months. Małgorzata Dawidek has stepped straight into the fray with her distinctive visual language. Review by Helena Haimes

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Safehouse 1, Maverick Projects, 139 Copeland Road, Peckham, London



The work effectively functions in the house as ‘interior decorating’. Nearly all the pieces are curated to emphasise the domesticity of the space, allowing forgotten details of the past to elegantly emerge. Emma Rae Warburton reviews the exhibition SOROR, sited within a former safe house.

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l'étrangère, 44a Charlotte Road, London EC2A 3PD

Joanna Rajkowska: Painkillers

Installation view, Joanna Rajkowska, Painkillers, 2015

Joanna Rajkowska's sculptural objects refer to the ways that human relationships are founded on exchanges and abuses of power and pain. Review by Hatty Nestor

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T293, Via G. M. Crescimbeni 11, Roma

May Hands: Freschissimi

Freschissimi, Installation View

T293 presents its first solo exhibition by British artist May Hands. Under the title of ‘Freschissimi’, the exhibition brings together an installation and a new series of paintings and sculptures curated during her summer residency in Rome.

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Tanya Bonakdar Gallery, 521 West 21st Street, New York NY 10011

Sarah Sze

Sarah Sze, Installation view, Tanya Bonakdar Gallery, 2015

Placed at stake in Sze’s works are the very meanings and definitions of our culture, and the experience of space-time, moments, or ‘scenes.’ Review by Arthur Ivan Bravo

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Talbot Rice Gallery, The University of Edinburgh, Old College, South Bridge, Edinburgh EH8 9YL

Hanne Darboven: accepting anything among everything

Hanne Darboven: accepting anything among everything, installation view at Talbot Rice Gallery, 2015

'Accepting anything among everything' is not just an exhibition-acquaintance with the German artist’s work, but a historical document on conceptual art’s physiognomy and its complex relationship with everyday life, materiality, music and speech. Review by Maro Psyrra

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The Hepworth Wakefield, Gallery Walk, Wakefield, West Yorkshire WF1 5AW

Magali Reus: Particle of Inch

Magali Reus, In Place Of (Sundries), 2015

For ‘Particle of Inch’, Magali Reus has made a body of work which uses the contemplative space of the gallery to exhibit a visual vocabulary we would more readily associate with being in transit. Review by Karl Musson

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